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Relevant bibliographies by topics / Poets, American – 19th century – Biography

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Academic literature on the topic 'Poets, American – 19th century – Biography'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Poets, American – 19th century – Biography"

1

Murillo, Edwin. "Existencial Poetics in the 19th Century Latin America." Revista de Filología y Lingüística de la Universidad de Costa Rica 45, no. 1 (March 21, 2019): 115–32. http://dx.doi.org/10.15517/rfl.v45i1.36674.

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Typically, the origin story of Existentialism has depicted Latin America’s contributions as subsequent and tributary to its European counterpart. Nevertheless, a select few critics have approached this history in Hispanic America from a chronologically inclusive perspective, by calling attention to an Existential Poetics in modernismo. This article expands the borders of Existential Poetics to fashion a Latin American literary imaginary. Given the work already done on Rubén Darío and José Martí, both of whom have been studied independently, my analysis will be collective, favoring philopoetic works by Manuel Gutiérrez Nájera, Julián del Casal, José Asunción Silva, and João Cruz e Sousa. The purpose of examining Hispanic-American poets in conjunction with a Brazilian is to accentuate the Pan-American quality of this Existentialism avant la lettre. As I will discuss, all these poems deal with a crisis of irrelevance and overtly question being in the world, classic motifs of Existentialism. Together, these poems allow for the synchronized inclusion of Latin American voices to the universal history of Existentialism, an approached not explicitly carried out by most philosophical and literary historiographers.

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Osiński, Dawid. "Krasicki’s positivists and modernists." Masuro-⁠Warmian Bulletin 299, no. 1 (April 6, 2018): 165–200. http://dx.doi.org/10.51974/kmw-134918.

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The author of the article demonstrates the ways of functioning of the biography, intellectual thought and work of Ignacy Krasicki in the literature of the second half of the nineteenth century. References to the literary, ideological and biographical heritage of the poet by positivists and modernists reveal Krasicki’s importance to cul�ture and literature during the second half of the 19th century. The basic goal is to extract from different texts (poet’s biographies, portraits, profiles, studies, synthetic approaches as well as literature - poetry, novels, drama) written by writers, critics and historians of Polish literature, positivism and modernism of modes of references to the shape and heritage of the prince’s poets. The return of positivists and modernists to Krasicki means the possibility of diagnosing one’s own present, and also facilitates defining the identity of culture with its limitations and deficits

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Abushihab, Ibrahim. "A Stylistic Analysis of Arab-American Poetry: Mahjar (Place of Emigration) Poetry." Journal of Language Teaching and Research 11, no. 4 (July 1, 2020): 652. http://dx.doi.org/10.17507/jltr.1104.17.

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The present paper represents an attempt to focus upon analyzing and describing the major features of Arab American poetry written by prominent Arab poets who had arrived in America on behalf of millions of immigrants during the 19th century. Some of who wrote in English and Arabic like Ameen Rihani (1876-1940); Khalil Gibran (1883-1931) and Mikhail Naimy (1889-1988). Others wrote in Arabic like Elia Abumadi (1890-1957). Most of their poems in Mahjar (place of emigration) reveal nostalgia, their love to their countries and their ancestors and issues relating to Arab countries. The paper analyzes some of their poems based on linguistic, grammatical, lexical and rhetorical levels.

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Petrosyan, Gayane. "The Theme of Death and Eternity in Emily Dickenson’s Poetry." Armenian Folia Anglistika 4, no. 1-2 (5) (October 15, 2008): 112–19. http://dx.doi.org/10.46991/afa/2008.4.1-2.112.

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The poetry of the world-renowned poetess Emily Dickenson received general acclaim in the fifties of the previous century, 70 years after her death. This country-dwelling lady who had locked herself from the surrounding world, created one of the most precious examples of the 19th century American poetry and became one of the most celebrated poets of all time without leaving her own garden.Her soul was her universe and the mission of Dickenson’s sole was to open the universe to let the people see it. Interestingly, most of her poems lack a title, are short and symbolic. The poetess managed to disclose the dark side of the human brain which symbolizes death and eternity.

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Sharma, Manisha. "COLOURIMAGERY IN THE HAIKU POEMS OF IMAGISTS POETS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3541.

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Imagism was a movement in early 20th century Anglo-American poetry that favoured precision of imagery and clear, sharp language. Imagists stressed on the direct treatment of the subject matter and strictly adhered to the rule that even a single word was not used unnecessarily. Imagists used the exact word instead of decorative words and rejected most 19th century poetry as cloudy verbosity. Imagist poets were influenced by Japanese Haiku, poems of 17 syllables which usually present only two juxtaposed images. Ezra Pound has made a conscious study of the Japanese Haiku. According to Pound, Japanese make a wonderful use of Haiku where they usually use a single image. A haiku is a haiku because all the images it conveys occur simultaneously in a person's present perceptions of the world. Ezra Pound is one the major exponents of imagist school who gave systematic theory of modernism. Ezra Pound's In a Station of the Metro is regarded as a fine specimen of Haiku. Pound recalls that once he stepped out of a "metro", train at La Concorde, and saw suddenly a beautiful face, and then another and another, and then a beautiful child's face, and then another beautiful woman. Throughout the day, Pound attempted to find words as worthy and as lovely as that sudden emotion. To his mind came an equation which was not in speech but in little sploches of colour. This feeling was the beginning of a language in colourfor Pound. Pound further elaborates that to express this kind of emotion he might find a new school of painting that would speak only by arrangements in colours. To substantiate his arguments, Pound expounds his view in Vorticism.

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6

de Sousa Santos, Maria Irene Ramalho. "American Exceptionalism and the Naturalization of “America”." Prospects 19 (October 1994): 1–24. http://dx.doi.org/10.1017/s0361233300005044.

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American exceptionalism, Joyce Appleby has recently reminded us, is “America's peculiar form of Eurocentrism.” Now that the multicultural history of the United States is finally being written, nothing would justify another look at American exceptionalism, except perhaps the need to examine the intellectual ways that have hidden American historical and social diversity for so long. In this essay I basically argue that a certain appropriation of the 18th-Century conception of nature as “what is” played a role also in the development of American exceptionalism. The naturalist rhetoric in American discourse in the 19th Century, I further argue, ran parallel to the most savage depredations of nature ever performed by humankind. I am particularly interested in foregrounding the discrepancy between the steady construction of that greatest of modern artifacts, the American nation, and its concomitant self-justification as a thing of nature. The other side of the commodification of America is its naturalization, an idea that I find is supported, whether critically or uncritically, by many American poets and artists. In recent times we have witnessed a number of ecological attempts at the social recovery of nature in the most advanced capitalist countries, including, of course, the United States. I am not concerned here with these developments, of which ecofeminism is arguably one of the most interesting ones.

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Protsiuk, A. "CICERO AND THE US POLITICAL CULTURE OF THE 18TH–19TH CENTURIES." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 139 (2018): 62–65. http://dx.doi.org/10.17721/1728-2640.2018.139.12.

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This article covers the role of Ancient Roman statesman and intellectual Marcus Tullius Cicero in the culture of the United States of America during the 18th and 19th centuries, particularly his influence on the formation of democracy in the US. While the recent decades have witnessed the increasing scholarly attention to the impact of Cicero on the early political culture of the US, the body of historical research, especially the Ukrainian one, lacks general analyses of Cicero’s role in the American political system during the emergence of the American state and its existence on the early stages of its history. After a general overview of the historical context of Cicero’s biography and legacy, this article pays a particular attention to his impact on the creation of United States democracy. A significant number of Cicero’s ideas, more or less, had been reflected in the concepts which defined the newly created American democracy. The most important concepts in this regard are the ideas of a republic government, private property, just laws, and forms of state structure. Apart from the general importance of Cicero’s ideas for the early American democracy, Marcus Tullius Cicero himself was a notable example for some Founding Fathers of the US, especially for the 2nd President John Adams. During the 19th century, Cicero continued to play a significant role in the American society, specially in the fields of education and public speaking.

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Ortiz, Roberto José. "Aristocratic Rebellion: Ruben Darío and the Creation of Artistic Freedom in the World-System." Journal of World-Systems Research 21, no. 2 (August 31, 2015): 339–61. http://dx.doi.org/10.5195/jwsr.2015.6.

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The late 19th struggle for artistic freedom in the capitalist world-system put the artist in a contradictory position. This contradiction is particularly relevant for writers of the periphery. Freedom or autonomy to pursue purely intellectual projects required a certain aristocratic defense of the value of art. At the same time, however, artists and intellectuals did confront structural subordination: they belonged, as Pierre Bourdieu explained, to the dominated fractions of the dominant class, subordinated both to the state and the bourgeoisie. The life of Nicaraguan Ruben Darío (1867–1916), probably the most well-known poet in Latin American history, provides a paradigmatic instance of this dilemma. Moreover, it sheds light into a dilemma particular to the peripheral intellectual. Peripheral writers, in the 19th century and still today, are subject to world-systemic hierarchies, even cultural ones. This double subordination is clear in the case of Ruben Darío. He was in a subordinated position not only vis-à-vis the national state and the bourgeoisie. Darío was also in a subordinated position, even if symbolic, in relation to those same intellectuals that Bourdieu celebrated as creators of the autonomy of culture in France. One can account for this complex of hierarchies only through a 'world-systems biography' approach. World-systems biographies clearly examine the dialectic of personal, national and global levels of social life. Moreover, it can uncover the core-periphery dialectic in the realm of artistic production. Thus, this world-systems biography approach is shown to be a useful framework through a brief analysis of Darío's life and work.

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Al-Dabbagh, Abdulla. "The anti-romantic reaction in modern(ist) literary criticism." Acta Neophilologica 47, no. 1-2 (December 16, 2014): 55–67. http://dx.doi.org/10.4312/an.47.1-2.55-67.

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While the antagonism of modernism to realism has often been commented upon, its equally vehement rejection of romanticism has not been as widely discussed. Yet, if modernism compromised at times with realism or, at least, with a "naturalistic" version of realism, its total antipathy to the fundamentals of romanticism has been absolute. This was a modernist trend that covered both literature and criticism and a modernist characteristic that extended from German philosophers, French poets to British and American professors of literature. Names as diverse as Paul Valery, Charles Maurras and F.R. Leavis shared a common anti-romantic outlook. Many of the important modernist literary trends like the Anglo-American imagism, French surrealism, German expressionism and Italian futurism have been antagonistic not only to ordinary realism as a relic of the 19th century, but also, and fundamentally, to that century's romanticism. In nihilistically breaking with everything from the past, or at least the immediate past, they were by definition anti-romantics. Even writers like Bernard Shaw or Bertolt Brecht and critics like Raymond Williams or George Lukacs, who would generally be regarded as in the pro-realist camp, have, at times, exhibited, to the extent that they were afflicted with the modernist ethos, strong anti-romantic tendencies.

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Sysolyatina, Sofiya V. "“Jephthah’s Daughter” by Amy Beach: the Biblical World in the Words of a Woman." ICONI, no. 2 (2019): 59–67. http://dx.doi.org/10.33779/2658-4824.2019.2.059-067.

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The article examines from the positions of musical content by means of analysis of the musical and poetical the composition “Jephthah’s Daughter” by Amy Beach, an American composer of the late 19th and early 20th century, a member of the “Boston six” — a group of American composers of the turn of the century, also known as the New England School, among which Amy Beach was the only woman. “Jephthahʼs Daughter” is a concert aria for voice and orchestra, which is interesting in the context of the composer’s musical legacy, as well as an exemplary composition of its era. The aria is devoted to the Biblical subject matter or, more precisely, the well-known Old Testament plot of the sacrifi ce of the daughter of the Israelite judge Jephthah. Besides the analysis of the musical fabric, the article examines the author’s approach to the subject of the principle of the choice of the material and the work with the textual sources — the Biblical story and the French poem, which comprised the basis of the aria’s text. As a result, the conclusion is arrived at about the composer’s artistic intentions and about the conceptual component of the work. The article contains information about Amy Beach’s biography, her artistic approach, her attitude to religious subject matter and social problems of the society contemporary to her, in particular, the issues of equal rights for women.

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Dissertations / Theses on the topic "Poets, American – 19th century – Biography"

1

Dowd, Ann Karen. "Elizabeth Bishop: her Nova Scotian origins and the portable culture of home." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31238427.

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Riley, Peter. "Moonlighting in Manhattan : American poets at work 1855-1930." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610494.

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Li, Xiaorong 1969. "Woman writing about women : Li Shuyi (1817-?) and her gendered project." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33300.

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This thesis examines the life and poetry collection of the woman poet Li Shuyi (1817--?) within the context of women's literary culture in late imperial China. In particular, the textuality of Li Shuyi's poetry collection Shuyinglou mingshu baiyong (One Hundred Poems from Shuying Tower on Famous Women) forms the centre of critical analysis, which aims to articulate her gendered intervention into representations of women's image in poetry. The thesis is organized into three interconnected sections: the reconstruction of Li Shuyi's life in order to provide a context to articulate her relationship to writing, a reading of Li Shuyi's self-preface to discuss her motivation to write, and critical analysis of poems according to the three thematic categories of "beauty, talent, and qing ." The thesis demonstrates how a woman author's self-perception leads to her becoming a conscious writing subject, and how this self-realization then motivates her to produce a gendered writing project.

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4

Hubbs, Holly J. "American women saxophonists from 1870-1930 : their careers and repertoire." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1259304.

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The late nineteenth century was a time of great change for women's roles in music. Whereas in 1870, women played primarily harp or piano, by 1900 there were all-woman orchestras. During the late nineteenth century, women began to perform on instruments that were not standard for them, such as cornet, trombone, and saxophone. The achievements of early female saxophonists scarcely have been mentioned in accounts of saxophone history. This study gathers scattered and previously unpublished information about the careers and repertoire of American female saxophonists from 1870-1930 into one reference source.The introduction presents a brief background on women's place in music around 1900 and explains the study's organization. Chapter two presents material on saxophone history and provides an introduction to the Chautauqua, lyceum, and vaudeville circuits. Chapter three contains biographical entries for forty-four women saxophonists from 1870-1930. Then follows in Chapter four a discussion of the saxophonists' repertoire. Parlor, religious, and minstrel songs are examined, as are waltz, fox-trot, and ragtime pieces. Discussion of music of a more "classical" nature concludes this section. Two appendixes are included--the first, a complete alphabetical list of the names of early female saxophonists and the ensembles with which they played; the second, an alphabetical list of representative pieces played by the women.The results of this study indicate that a significant number of women became successful professional saxophonists between 1870-1930. Many were famous on a local level, and some toured extensively while performing on Chautauqua, lyceum, and vaudeville circuits. Some ended their performing careers after becoming wives and mothers, but some continued to perform with all-woman swing bands during the 1930s and 40s.The musical repertoire played by women saxophonists from 1870-1930 reflects the dichotomy of cultivated and vernacular music. Some acts chose to use popular music as a drawing card by performing ragtime, fox-trot, waltz, and other dance styles. Other acts presented music from the more cultivated classical tradition, such as opera transcriptions or original French works for saxophone (by composers such as Claude Debussy). Most women, however, performed a mixture of light classics, along with crowd-pleasing popular songs.
School of Music

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5

Laffey, Seth Edward. "The Letters of Edwin Arlington Robinson: A Digital Edition (1889-1895)." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1499369594701871.

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Books on the topic "Poets, American – 19th century – Biography"

1

Lukes, Bonnie L. Henry Wadsworth Longfellow: America's beloved poet. 2nd ed. Greensboro, N.C: Morgan Reynolds Pub., 2003.

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Lukes, Bonnie L. Henry Wadsworth Longfellow: America's beloved poet. Greensboro, N.C: Morgan Raynolds, 1998.

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3

Swett, Steven C. Josiah's journey: Chapters on the life of the Rev. Josiah Swett, DD, teacher, preacher, poet in 19th century Vermont. Hanover, N.H: Bragg Hill Press, 2010.

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Whitman, Walt. Specimen days: & Collect. New York: Dover Publications, 1995.

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Walt Whitman. Oxford: Oxford University Press, 2005.

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Lyrics of sunshine and shadow: The tragic courtship and marriage of Paul Laurence Dunbar and Alice Ruth Moore : a history of love and violence among the African American elite. New York: New York University Press, 2001.

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Emily Dickinson and the art of belief. Grand Rapids, Mich: William B. Eerdmans Pub. Co., 1998.

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Emily Dickinson and the art of belief. Grand Rapids, Mich: William B. Eerdmans Pub. Co., 1998.

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Emily Dickinson and the art of belief. 2nd ed. Grand Rapids, Mich: William B. Eerdmans Pub. Co., 2004.

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10

Byron and Greek love: Homophobia in 19th-century England. London: Faber, 1985.

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